Highbridge Way
Full Score and Parts
by Carl Strommen
String Orchestra - Sheet Music

Item Number: 5099411
5 out of 5 Customer Rating
Price reduced from $53.00 to $50.35
Order On Demand
  • Ships in 1 to 2 weeks

Taxes/VAT calculated at checkout.

Share Share
Orchestra String Orchestra - Grade 1.5-2

SKU: CF.FAS19

Full Score and Parts. Composed by Carl Strommen. Edited by Amy Rosen. Carl Fischer First Plus String Orchestra Series. Score and Parts. With Standard notation. 8+8+8+5+5+5+2 pages. Carl Fischer Music #FAS19. Published by Carl Fischer Music (CF.FAS19).

ISBN 9780825851933. UPC: 798408051938. 8.5 X 11 inches. Key: G major.

In the grand style of the British March, Highbridge Way should be played in a crisp and liquid manner paying close attention to the articulation and dynamic markings. The mezzo piano in m. 5 introduces the theme and slowly builds until m. 37, where the dynamic indication is forte. At m. 45, the dynamic is mezzo piano, and we are brought back to the theme at m. 53, which begins as piano and builds to m. 65 and to the finale.
In the grand style of the British March,A Highbridge WayA should be played in a crisp and liquid manner paying close attention to the articulation and dynamic markings. TheA mezzo piano in m. 5 introduces the theme and slowly builds until m. 37, where the dynamic indication is forte. At m. 45, the dynamic isA mezzo piano, and we are brought back to the theme at m. 53, which begins as piano and builds to m. 65 and to the finale.
In the grand style of the British March, Highbridge Way should be played in a crisp and liquid manner paying close attention to the articulation and dynamic markings. The mezzo piano in m. 5 introduces the theme and slowly builds until m. 37, where the dynamic indication is forte. At m. 45, the dynamic is mezzo piano, and we are brought back to the theme at m. 53, which begins as piano and builds to m. 65 and to the finale.
In the grand style of the British March, Highbridge Way should be played in a crisp and liquid manner paying close attention to the articulation and dynamic markings. The mezzo piano in m. 5 introduces the theme and slowly builds until m. 37, where the dynamic indication is forte. At m. 45, the dynamic is mezzo piano, and we are brought back to the theme at m. 53, which begins as piano and builds to m. 65 and to the finale.